636 KB58 KB197820252018Snoj, Vidštevilka:1letnik:41str. 123-144ISSN:0351-1189COBISSID_HOST:66953570URN:URN:NBN:SI:doc-C919LFCXslSlovensko društvo za primerjalno književnostPrimerjalna književnostBibleBiblijaCelan, Paul, 1920-1970German poetryHolocaustholokavstJewish mysticismjudovska mistikakabalaKabbalahnemška poezijarazodetjereligious nihilismreligiozni nihilizemrevelationThe Holocaust"Roža Niča"| judovska katastrofa in kabala v "Psalmu" Paula Celana|The Holocaust or the Shoah, the Jewish catastrophe, looms large in Paul Celan's oeuvre, starting with his early and most famous poem, "Death Fugue". Celan's poetic treatment of the Jewish catastrophe gradually came to include Jewish mysticism, addressed perhaps most deeply in his "Psalm". This poem lends voice to the victims - not those waiting for death in an extermination camp, as in "Death Fugue", but to the dead ones, the murdered ones. The speakers of "Psalm" are addressing No One, meaning God, as if they were reducing God to nothing. This calls to mind Nietzsche's declaration that "God is dead", according to which God or the supersensory world, the world of ideas as values which used to endow earthly life with sense and vigour, can offer nothing more. However, Celan's speakers are not talking about God but to God, addressing him as No One. On the other hand, they refer to themselves, unburied, gassed, cremated, and left to rise into the air like smoke, as to "Nothing-Rose" and "No-One's-Rose" - a rose which blooms without soil toward, or in spite of, Nothing. It is here that Celan introduces Jewish mysticism: in the Kabbalah, "Nothing" ('Ayin) is a name for the first sefirah, the beginning of God's revelation, the revelation of 'Ayin-Sof, the Infinite, before Creation. The so-called tsimtsum, the crossing of the Infinite into the dimension of being and its simultaneous retreat back into transcendence, the "inside-out-treat", which is continuously going on as the beat of God's life, was interpreted by Gershom Scholem, the major historian of Jewish mysticism and an author who was familiar to Celan, as God's having fully retreated into the nothing of revelation. The same line of thought, which might be dubbed "religious nihilism" as opposed to Nietzschean atheist nihilism, is presumably pursued by CelanHolokavst oziroma šo'a, judovska katastrofa, je v Celanovem opusu navzoča od njegove med prvimi objavljene in najslavnejše pesmi, "Fuge smrti", naprej. V upesnjevanje judovske katastrofe pa je Celan sčasoma zajel tudi judovsko mistiko, morda najgloblje v "Psalmu". V tej pesmi dá spregovoriti žrtvam - ne tistim, ki v taborišču smrti čakajo na smrt, kakor v "Fugi smrti", ampak mrtvim, že pokončanim. Govorci se v "Psalmu" obračajo na Nikogar, tj. na Boga, tako, kot da bi ga dajali v nič. To spominja na Nietzschejevo oznanilo "Bog je mrtev", po katerem z Bogom oziroma nadčutnim svetom, svetom idej, ki so kot vrednote zemeljskemu življenju nekoč dajale smisel in moč, ni več nič. Vendar Celanovi govorci ne govorijo o Bogu, ampak Bogu, in ga v nagovoru imenujejo Nihče. Sebe, ki niso bili pokopani, ampak so se zaplinjeni kot dim dvignili v zrak, po drugi strani imenujejo "roža Niča" in "Nikogaršnja roža" - roža, ki brez zemlje cvete Niču nasproti. Tu se Celan navezuje na judovsko mistiko: "Nič" ('Ajin) je v kabali ime za prvo sefiro, začetek Božjega razodevanja, razodevanja 'Ajin-sofa, Neskončnega, še pred stvarjenjem sveta. Toda t. i. cimcum, prestop Neskončnega v razsežnost biti in hkrati njegov umik nazaj v presežnost, se pravi prestop-in-umik, ki se kot utrip Božjega življenja godi brez prestanka, je po razlagi Gershoma Scholema, osrednjega zgodovinarja judovske mistike, ki ga je Celan bral, v modernih časih postal umik v nič razodetja. V tej smeri, ki bi jo v nasprotju z ničejanskim ateističnim nihilizmom lahko poimenovali "religiozni nihilizem", bržkone pesni tudi CelanTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost